©Kiss; DOI: 10.1177/0956474817746100d; [2017/12] 28:4; 76-78 http://bjr.sagepub.com time was written in 2014 by a ghostwriter in service to a YouTube megastar” before painting the gloom to come. “The reduction of editorial time, the automation of writing, the elimination of working memory (and, in aggregate, historical memory): all of these are accelerated by online writing, at least when it is set to the speed of advertising demand.” Scott Esposito is more upbeat. For those who grew into their careers around the turn of the millennium, those early adopter years were uniquely energising, nurturing and empowering. “It’s no exaggeration to say that my blog – much more so than my first job in publishing – has been the cornerstone of my life in letters,” he writes, describing the network of friends, editors and authors that grew around him. Now, many of those relationships are sustained through social media, providing instantaneous feedback and invaluable tips and leads. “For a critic determined to bypass industry hype and work with writers who will still be read 50 years from now, this information is worth its weight in gold.” He cautions us, though, in the reductiveness of online information: “We have begun to track There are a multitude of ergonomic and cognitive reasons why reading long-form work feels easier offline, at least for me. So it was perhaps appropriate and inevitable that my dead tree copy of The Digital Critic was lost in the post, which meant I had to read this book on screen. A wide-ranging collection of essays, The Literary Critic explores almost every nook and pertinent cranny of both the theory and practicality of literary criticism in the online era, a transition that has been every bit as fraught and overwhelming for the literary community as it has been for the media industry. Woven through this collection of 17 perspectives are three core themes: the loss of gatekeepers and consequent “democratisation” of the criticism field; the role of the author and nature of criticism in an environment so overloaded with information; and the challenging economics of publishing and writing on the web. There is plenty here to describe the raucous opportunism of web publishing as a new and defiant medium. Jonathon Sturgeon knows how to goad his likely audience “The highest-grossing debut novel of all The tangled web

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书评：纠结的网络数字评论家：文学文化在线，由 BarekatHouman、BarryRobert 和 WintersDavid 编辑（OR Books，第 202 页，14 英镑）

©亲吻；DOI：10.1177/0956474817746100d；[2017/12] 28:4；76-78 http://bjr.sagepub.com 时间是在 2014 年由一位为 YouTube 巨星服务的代笔写的”，然后才描绘了即将到来的阴霾。“编辑时间的减少、写作的自动化、工作记忆（以及总体上的历史记忆）的消除：所有这些都被在线写作加速，至少当它被设定为广告需求的速度时。” 斯科特·埃斯波西托更加乐观。对于那些在千禧年左右进入职业生涯的人来说，那些早期采用者的岁月是独一无二的充满活力、培养和授权的。“可以毫不夸张地说，我的博客——比我的第一份出版工作更重要——一直是我信件生活的基石，”他写道，并描述了在他周围成长的朋友、编辑和作者网络。现在，其中许多关系是通过社交媒体维持的，提供即时反馈和宝贵的提示和线索。“对于一个决心绕过行业炒作并与从现在起 50 年后仍会被阅读的作家合作的评论家来说，这些信息物有所值。” 不过，他警告我们，在线信息的简化程度：“我们已经开始追踪为什么在线下阅读长篇作品感觉更容易，至少对我而言，有许多符合人体工程学和认知的原因。因此，我的《数字评论家》的死树副本在帖子中丢失可能是适当且不可避免的，这意味着我必须在屏幕上阅读这本书。范围广泛的散文集，文学评论家探讨了网络时代文学批评理论和实践的几乎每一个角落和相关缝隙，对于文学界和媒体行业而言，这种转变既令人担忧又难以抗拒。通过这 17 个观点的集合，编织了三个核心主题：看门人的丧失和随之而来的批评领域的“民主化”；在信息过多的环境中，作者的角色和批评的性质；以及在网络上出版和写作的挑战性经济学。这里有很多东西可以将网络出版的喧嚣机会主义描述为一种新的和挑衅的媒体。乔纳森·斯特金 (Jonathon Sturgeon) 知道如何刺激可能的观众 看门人的流失以及随之而来的批评领域的“民主化”；在信息过多的环境中，作者的角色和批评的性质；以及在网络上出版和写作的挑战性经济学。这里有很多东西可以将网络出版的喧嚣机会主义描述为一种新的和挑衅的媒体。乔纳森·斯特金 (Jonathon Sturgeon) 知道如何刺激可能的观众 看门人的流失以及随之而来的批评领域的“民主化”；在信息过多的环境中，作者的角色和批评的性质；以及在网络上出版和写作的挑战性经济学。这里有很多东西可以将网络出版的喧嚣机会主义描述为一种新的和挑衅的媒体。乔纳森·斯特金 (Jonathon Sturgeon) 知道如何刺激可能的观众